Foreword |
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xiii | |
Preface |
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xv | |
Introduction |
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xix | |
Part I History and Theory |
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1 | (100) |
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Chapter 1 Premises and Values |
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3 | (16) |
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3 | (1) |
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4 | (2) |
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Message vs. Theme vs. Moral Premise |
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6 | (2) |
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8 | (1) |
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9 | (5) |
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Premise Genres and Conflict of Values |
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14 | (4) |
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18 | (1) |
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Chapter 2 What Socrates and Seinfeld Have in Common |
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19 | (14) |
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19 | (1) |
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20 | (3) |
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23 | (2) |
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25 | (1) |
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26 | (2) |
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28 | (1) |
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29 | (2) |
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31 | (2) |
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Chapter 3 The Moral Premise in Modern Writing Guides |
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33 | (16) |
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Robert McKee's Controlling Idea |
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33 | (1) |
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Michael Tierno's The Action-Idea |
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34 | (3) |
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37 | (2) |
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Syd Field's Interior Life |
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39 | (2) |
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41 | (2) |
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43 | (1) |
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44 | (4) |
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48 | (1) |
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Chapter 4 Storytelling's Natural Law and Processes |
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49 | (12) |
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49 | (2) |
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51 | (9) |
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60 | (1) |
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Chapter 5 Structure of the Moral Premise |
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61 | (24) |
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Form of the Moral Premise |
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61 | (1) |
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Themes vs. Moral Premises |
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61 | (5) |
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The Physical and Psychological Nature of Spines and Quests |
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66 | (2) |
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Moment of Grace: A Movie's Fulcrum of Meaning |
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68 | (1) |
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69 | (5) |
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74 | (3) |
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More on the Moment of Grace |
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77 | (4) |
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The Moral Premise in Multiple Story Lines |
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81 | (3) |
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84 | (1) |
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Chapter 6 Identification and the Moral Premise |
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85 | (16) |
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Suturing the Audience into the Story |
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85 | (1) |
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86 | (2) |
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88 | (2) |
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90 | (3) |
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Audience/Filmmaker Value Alignment |
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93 | (2) |
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What the Movie is Really About |
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95 | (4) |
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99 | (2) |
Part II Application |
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101 | (58) |
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Chapter 7 Strategic Processes |
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103 | (4) |
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Begin with the End in Mind |
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103 | (1) |
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Hare Brain, Tortoise Mind |
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104 | (1) |
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105 | (2) |
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Chapter 8 Step 1. Determine the Controlling Virtue |
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107 | (2) |
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The Story's Virtuous Theme |
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107 | (2) |
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Chapter 9 Step 2. Determine the Controlling Vice |
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109 | (2) |
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109 | (2) |
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Chapter 10 Step 3. Determine the Moral Premise |
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111 | (2) |
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The Story's Ultimate Message |
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111 | (2) |
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Chapter 11 Step 4. Determine the Movie's Genre |
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113 | (4) |
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The Arc of Cultural Conflict and Resolution |
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113 | (4) |
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Chapter 12 Step 5. Determine the Protagonist's Physical Goal |
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117 | (2) |
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The Movie's Physical Spine |
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117 | (2) |
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Chapter 13 Step 6. Determine the Protagonist's Physical Obstacles |
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119 | (2) |
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The Movie's Physical Conflict |
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119 | (2) |
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Chapter 14 Arc Plots and Major Dramatic Beats |
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121 | (14) |
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The Major Plot and Turning Points |
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121 | (1) |
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A Character's Dramatic Arc |
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121 | (1) |
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122 | (5) |
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127 | (8) |
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Chapter 15 Step 7. Determine the Major Dramatic Beats |
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135 | (2) |
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136 | (1) |
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136 | (1) |
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136 | (1) |
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Chapter 16 Step 8. Sequence the Dramatic Beats |
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137 | (10) |
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137 | (1) |
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Beginning, Middle, and End |
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138 | (1) |
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Plotting Rules and Decisions |
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139 | (1) |
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140 | (1) |
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141 | (1) |
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Turning Point Characteristics |
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141 | (1) |
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Serendipitous Occurrences |
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142 | (1) |
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Three-Act Element Discussion |
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142 | (5) |
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Chapter 17 Braveheart: A Capstone Example |
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147 | (12) |
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Braveheart's Moral Premise |
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147 | (2) |
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149 | (3) |
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Braveheart's Major Dramatic Beats |
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152 | (7) |
Part II Conclusion |
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159 | (2) |
Epilogue |
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161 | (2) |
Appendix Research Abstract |
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163 | (2) |
Films Cited |
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165 | (6) |
Texts Cited |
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171 | (4) |
Index of Moral Premises and Themes |
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175 | (4) |
Topic Index |
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179 | (17) |
About the Author |
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196 | |